QUICK’N DIRTY: LIVE FROM BERLIN
Ivan (Silver Chicón) is a trans man in pove with Hadoum (Herminia Loh Moreno), a cis woman. The relationship has to contend with nefarious capitalistic. Their work, an industrial greenhouse in a coastal town in Southern Spain, could become the root cause of their break-up.
Ivan never felt the urge to move to a large and ostensibly more liberal city. Accepted by his family, friends and colleague, he appears confident and assured. De La Rosa does away with cliches and coming-out frivolities. Transphobia does rear its ugly head on occasion, but that’s nothing that Ivan can’t handle. Ivan’s worries lie elsewhere: in the wellbeing of his tightly knit fatherless family. He assumes the role of patriarch in a home now too small and claustrophobic, particularly with the addition of grandchildren. He becomes a provider. A larger salary opens up the possibility of renting a larger place. His hard work pays off. The owner of the factory, who also happens to be a family friend, promotes him. His newfound relationship with Spanish-Moroccan Hadoum jeopardises his new top-ranking position.
Hadoum is a force to be reckon with. Bold, worldly, enticingly eye-catching and soon to be the cause of all of Ivan’s problems. Their first encounter is a drunken night out at local bar. Their dalliance is sweet and playful, with a palpable chemistry exuding of the screen. An attraction reinforced by their outsider complicity. The relationship is tested from the outset. Rumours have that Hadoum’s job could be replaced by machines. Hadoum seeks to galvanise a workers’ riot, one that directly affects Ivan and his family.
This striking film is drenched in the Mediterranean sun, utilising the desert-like terrain and crystal waters to full affect. The premise is interesting enough, however the developments become a little predictable. Twists and turns can be seen from the other side of the Mediterranean. Themes such as identify, class, immigration and late capitalism are interwoven into the narrative with honesty however little nuance. Chicón’s delivery is the most praiseworthy element the film. It feels authenetic and refreshing.
Director De La Rosa is a trans man. He infuses his movie with his own perspective and prerogative. This means that he is prepared to take libverties with Ivan’s body. Close-ups and zooms of his anatomy are constant and extensive. naked flesh is consistently at show. Ivan & Hadoum celebrates the ambiguity of trans body. His handsome, angular bearded face, broad shoulders, scarred chest are contrasted against his period. The sex scenes too are very candid. They not seek to appeal to squeamish and intolerant cis people.
Ivan finally questions himself about the archetypal traits that he incorporated: the societal pressures and expectations of the caregiver, the lover, and the manager. All in all, this is a great character study of a man remarkable of many levels.
Ivan & Hadoum just premiered in the Panorama section of the 76th Berlinale.
